80
Store study:
Au Printemps
Au Printemps has been a pillar of the
Parisian shopping culture since 1865,
when Jules Jaluzot created the world-
famous store that is still an important
part of the Right Bank’s architectural
heritage. The word printemps means
“springtime”. Today, the once-exclusive
French store has a presence in cities
ranging from Tokyo to Jeddah. Its window
displays are appreciated around the world
for their quirky concepts and attention
to detail, but its innovative ideas remain
true to the original French brand that still
makes Au Printemps a world-renowned
destination store.
Franck Banchet, Au Printemps’ Creative
Director, graduated from the CTE, a private
school specializing in visual merchandising.
After this excellent training he went on to
manage the fashion floors at Au Printemps’
rival, Le Bon Marché, eventually moving to
Above
A window to promote the late British designer Alexander McQueen: a strikingly
posed mannequin seated on a sculpted bow is all that is needed.
Au Printemps. Today, after ten years at Au
Printemps, he instigates the creative concepts
not only for the windows but also the vast
interiors of 17 department stores.
Which of the windows that you have
designed is your favourite?
“To visualize a window is to offer an interpre-
tation, a vision of a certain world or a theme.
I love working with artists or designers to
construct a story together. Our visions blend
and we produce something very strong. One
of the installations that made an impression
on me were the windows we created with
Bettina Rheims, because of their minimalist
aspect and, overall, for the unique opportunity
I had to meet and work with the “Queen”
of photography.
Also, the living window with the choreographer
Joëlle Bouvier, for the emotion it brought to
the customers; people were stopping in their
tracks to watch the live installation evolve.
Another favourite is the Christmas scheme
that we devised with Karl Lagerfeld for
Chanel. I like his creative, dreamlike worlds
and his attention to detail. He created a
dummy Mademoiselle Coco especially for
Au Printemps that we placed in the animées
(animated) windows of Boulevard Haussmann.
This was an unbelievable experience, and the
result of combining Mademoiselle Coco with
our Christmas theme was magical.”
What is the hardest product category for
which to design a window scheme?
“All product categories are a creative
challenge, as far as window displays are
concerned. But having to design a window
scheme for jewellery, watches or even
cosmetics, in 6-meter-wide windows is often
the most difficult.”
 81

How do you start to plan and design a “Just like the use of lighting, colour is an
window scheme? element that can highlight a theme or a
product. But colour can encourage mental
“The first step is to define a theme and
associations, such as white for purity. I love
concept for the window. Then, you have to find
playing with these preconceptions and
‘THE’ idea; that very special idea that will
‘upsetting’ these codes in order to better
make the difference.”
serve the general theme of the display.”
Is good lighting both in-store and in
Do you consider the merchandise before
windows key?
you design the window or do you make
“Good lighting is essential. It’s the base for a the product fit into the window scheme?
good window display and it’s totally part of the
“In reality the merchandising and the windows
whole design. A window that is not lit properly
form a unity. Our role is to enhance the value
will not have the same visual impact. It is
of a product and also to consider the develop-
essential to illuminate the whole window with
ment of the general concept. We then apply
an ambient light, and then use lights with a
this concept in the display. One of the best
smaller beam width to highlight certain focal
examples is the way we realized the theme
points, such as the mannequin’s face. But
Operation Alice in Wonderland of Au Printemps
the lighting can equally be a dynamic visual
(l’Opération Alice au Printemps des
element in itself. Techniques such as the use
Merveilles). To coincide with Tim Burton’s
of neon can illustrate a theme and illustrate
film Alice in Wonderland, we asked designers
the concept behind the window display.”
such as Maison Martin Margiela, Alexander
McQueen and Christopher Kane to recreate
You produce amazing windows with
Alice’s dress. We then presented these
great colour schemes. How important
designs, drawing inspiration from the world
is the use of colour when designing a
of Burton’s film. And we did so in both the
window scheme?
display and the merchandising.”

Above
This window showcases a collaboration between Au Printemps and the launch
of the film Alice in Wonderland. The quirky mannequin has been styled with a
rabbit’s head and wears a designer dress.
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What has been the most challenging
window to design and install?
“Every year, we are challenged to produce
exceptional Christmas windows. We have to
plan in advance, be innovative and reinvent
ourselves while respecting the traditions
associated with this seasonal festivity. We
also know that our Christmas windows are
expected to surprise the public. The whole
of Paris looks forward to the unveiling of
the completed window scheme; we want the
windows to be dreamlike, and appeal to both
adults and children. In many of the windows
we use animation, which is always challenging
to plan and install but rewarding when you
see the final outcome.”
Where does your creative inspiration
come from?
I think I am inspired by all things in life: the
street, travel, exhibitions, even video clips,
photography ... although to be honest, I do
not realize this when I capture a trend; I am
just lucky to have the ability to catch the spirit
of the times.”
Whose window displays do you admire?
“Barneys’ and Liberty’s windows are always
the pinnacle of the avant-garde: original and
highly creative.”
How important is store design? Does it
help sell products?
“Definitely. Window displays act like an
advert in the media: they are the “branding
signature” of the store and, as such, the most
direct advertising message. The product is
part of a whole scenography, but the windows
help enforce the store’s overall creativity, the
key element that encourages the public
to step into the store and spend.”

Above
This clever window scheme consisted of various forms of transport carrying
bundles wrapped in exquisite fabrics, all colour coordinated.
 83

How important are signage and graphics What will store windows be like in
both in-store and in windows? 50 years’ time?
“A company’s brand identity is reflected “Interactive windows: that is to say, windows
through the use of graphics and signage. It without glass.”
contributes to its brand positioning, but has
to be sympathetic with the artistic style and Whose mannequins do you like to work
must sit comfortably with the overall brand. with most?
This is all the more true for Au Printemps, as
“Adel Rootstein’s. They have great
we have 17 stores in France. So we have to
proportions and beautiful postures.”
ensure that our customers identify with the
personality of our signage, whether they are in
Paris, Lyon or Marseilles.”

Above
A dramatic mannequin is reflected by cleverly positioned mirrors. Hoops of neon
highlight the model and add a theatrical quality.
84

Colour

The use of colour can create drama and can have on a customer looking at a
atmosphere. Most retailers rely on window display.
colour as an inexpensive tool to change
Using the wrong colours can, of course, be
the window’s look and image. Colour
detrimental to a retailer. The autumn/winter
can be added in many ways, the most
2006 fashion collections, into which the
obvious being paint. Lighting, fabric and
British high street bought heavily, struggled
graphics can also create impact.
to sell because of their colour: grey. Many
Colours can be extremely personal; not women especially felt that the colour was
everyone’s tastes and preferences are the drab and hard to wear without looking dull.
same. In different cultures, colours may The visual merchandiser could have tackled
mean different things. For example, pink is this problem by complementing it with
seen as the navy blue of India. Some colours accessories, backdrop colours or an
have an almost global reference. Red is seen imaginative display.
by many as a warning colour, known to get
It is useful for visual merchandisers to
one’s heart racing; this is possibly why it is
understand the basic principles of colour
also the colour used by most retailers at
and what effects different colours may have
sale times, when they encourage a shopping
on their customers. The colour wheel is
frenzy by ensuring their customers literally
certainly the most effective way of under-
“see red”. The mint-green aprons that
standing how colours work.
British surgeons wear are by no means a
fashion statement; they are in fact coloured
that way because the eye will settle more
easily looking at them after focusing on the
colour of blood – light green is calming. Many
mental-health institutions colour their walls
with the same shade. With this in mind, it is
worth considering the impact that colour

Above
A collaboration between the luxury
French fashion house Louis Vuitton
and the Japanese artist Yayoi Kusama
was skilfully created for Selfridges,
London, using a sophisticated colour
scheme of just red and white with
highlights of metallic gold.
Windows 85

Primary

Secondary

Tertiary

The colour wheel Colour terms

In the late seventeenth and early eighteenth
Chromatic
centuries, Sir Isaac Newton created the very
first colour wheel. By use of a prism, he split High colour density: red, blue and yellow.
sunlight into colours to create a colour
spectrum. A century later, the German writer Achromatic
Johann Wolfgang von Goethe produced his
The opposite of chromatic: grey, white
own version of a colour wheel based on the
and black.
psychological effect of colours, where reds
and oranges were positive and greens to
Shade
blues more unsettling.
Adding black to a colour will alter the
The colour wheel that is used today is based
appearance of the colour and make it darker:
on three primary colours: yellow, red and blue.
a different shade of the original colour.
When mixed together, these three colours
produce every other colour. By blending two
Tint
of the primary colours, a secondary colour is
created: yellow and red mixed together will Adding white to a colour will brighten
make orange, for instance. A primary colour the colour, creating different tints of
mixed with a secondary colour will form a the original colour.
tertiary colour: yellow and green, for example,
create yellow-green. Hue
Another name for the pure colour: red, blue, etc.

Value
The darkness or lightness of a colour.

Above
The 12 colours of this colour
wheel consist of the three primaries,
the secondary colours and the
tertiary colours.
86
By painting the walls and
floor in different colours,
each will stand out to frame
the product. It is also the
perfect way to create a
realistic room set.
Colour schemes again, the window will look striking and will
be cost-effective, too. Depending on the
To a novice visual merchandiser, exploring
dressing and styling, colour can also promote
the use of colour and determining what
a trend: pink for Valentine’s Day, for example;
effects it can have in a display may at first be
red for Christmas; black for a
daunting. Coordinating colours so that they
luxury fashion look.
are effective should be considered thoroughly
before designing or installing a display. The
most common colour schemes are based on
just six variations (see opposite).
One of the most effective window schemes
that has been used by visual merchandisers
worldwide is the use of only one colour.
Various shades of the same colour used in
the same display can create impact. A window
based on the colour blue, for example, can
add an emotional value; it could be perceived
as cold, sad or – depending on the hue –
warm. By using the relatively inexpensive
medium of paint on the walls in one shade
of blue and adding mannequins in another
shade and the product in different shades
Above
A monochromatic window can be very
effective and easy to design. Here at
Selfridges, London, a solid black floor
and chequered wall help complement
the contemporary furniture display in
collaboration with Elle Decoration.
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Split-complementary
Complementary The use of three colours: one main colour and two colours appearing
Two colours that are directly opposite each other on the colour wheel. either side of it on the colour wheel.

Double complementary Triadic

Four colours, two main colours plus their complementing hues. Three colours that are all equally spaced around the colour wheel.

Analogous Monochromatic
Two or more colours that are next to each other on the colour wheel. Black and white.

Above
The use of colour in a window display
is paramount in its success. These
examples demonstrate how colour
can be used as a tool for attracting
the customer’s attention.
Windows 89

Colour really is the most magnificent tool
for capturing the attention of passers-by and
creating atmosphere. If in doubt, always go
for the brighter or darker option. Taking the
soft option will not be as effective and will
be perceived as predictable by the customer
who may overlook the colour scheme – cream
instead of crisp white will appear weak,
and the wrong shade of red may look like
a sale window.
When using colour, it also pays to consider
the colour associations behind the product
itself. Whereas a window promoting
eco-friendly products would benefit from
the window being coloured in neutral tones
associated with natural products – ecru,
cream and off-white – a butcher would never
use red as a backdrop for produce; instead
he uses white because it will always appear
hygienic and show off the cuts of meat.
A jeweller specializing in diamonds will, of
course, rely on a rich, dark colour that will
offset the gems and make them sparkle.
There are also tricks you can use with colour
to change the look of the window. A darker
colour such as black will make a large window
appear smaller. White, on the other hand,
will create the effect of space. Painting or
applying vertical stripes to the window walls
will visually stretch it.

Opposite
The mask in this window from
Printemps in Paris appears to be
floating against the black background,
giving the complete window a real
sense of drama. Painting a large win-
dow black will make it appear smaller
and also create great atmosphere.
Above
Painting stripes on a wall will make
the window appear taller as well as
create an interesting and economical
wall treatment, seen here for the
“Spring Beauty” display at Selfridges
in London.
Below
A neutral window scheme made
entirely from light wood set against a
white backdrop is brought to life with
just one desirable Céline handbag in
red at Selfridges, London.
90

Window prepping

Once it has been decided which products Household goods can be picked and prepped:
are to be used, it is wise to collect glasses cleaned, labels removed and fabrics
everything and prepare it beforehand. ironed. The more prepping that is done in
This will save valuable dressing time. advance, the less work there will be when a
window is being dressed. Once the products
Preparing merchandise, or “prepping” as
are selected and prepped, they can be added
it is commonly known, will speed up the
to the window.
window-dressing process. Clothing can be
selected in advance and ironed or steamed,
price tags can be removed, and in some
cases, mannequins can be dressed away
from the windows and added later. Fashion
dressers may often require hosiery and other
accessories; these should also be selected
during the prep time.

Above
An impressive window display at
Fortnum & Mason, London. The
complete structure on which the
product has been placed rotates. Any
movement within a window will attract
customers’ attention, because they
are used to viewing static displays.
Windows 91

Above
A life-size and realistic giraffe fills
an entire window at Louis Vuitton,
London. This window has been
designed not only to display products
but also to attract customers through
its quirkiness.
92

Installing the
window display

No retailer wants shop windows to
be either empty or in a state of undress
for long. It is therefore important that
a feasible time slot is allocated to dress
a window from start to finish. Unless
the window scheme is complicated and
needs to be dressed over a couple of
days, a visual merchandiser should
ensure that the window is completed in
a day. Many visual merchandisers start
early in the morning in order to strip out
the existing window scheme while the
store is closed so as not to hinder the
customers by trailing props and products
across the shop floor. It is also an
easier time to bring the new scheme
to the window.
If the window scheme has been planned
accurately, the subsequent dressing of the
window should be trouble-free. It is essential
that the window about to be dressed is clean
and tidy; checks should be made to ensure
all the lighting is working and that lightbulbs
have not blown. It is easier to erect a step-
ladder and replace lightbulbs before the
window is full. Staples, nails and screws from
the previous dressing will need to be removed
and, in many cases, holes in walls will need
to be filled and sanded down.
Next, the walls should be treated. The floor
should be left for last in order to avoid
unnecessary paint splashes. If the walls are
to be painted, it is often wise to start very
early in the day, as they may require several
coats and, depending on the weather, they
may take a long time to dry. Leaving the
lighting on will also help raise the temperature
by a few degrees. It is advisable to mask off
the edges of the glass close to the walls;
paint-speckled glass will be noticeable to
the customer. If the window has a solid floor
such as marble or wood, this should also be
covered to prevent paint splashes unless it,
too, is being painted.
If the window has floorboards cut from MDF,
they can be removed and covered away from
the window while the walls are being painted,
thus saving time. Covering large boards with
either fabric or PVC can be difficult purely
because of their size – assistance may be
needed. As part of your toolbox (see page
217) a staple gun and a pair of scissors are a

Above
The façade of Liberty in London
is impressive, but it also demands
that the customer focuses a little
more on what is for sale in the
windows. Planning a window scheme
that can compete with the architecture
is important.
Windows
visual merchandiser’s saviours; they will be
required on many occasions, especially when
covering panels. Always cut the fabric larger
than the board, leaving enough spare to hold
and pull while you staple. Start on the longest
side first, putting a few staples in the middle
of the board on both sides. Then do the same
on the shorter sides, pulling the fabric taut;
work towards each of the corners, securing
the fabric with staples as you go. When you
reach the corners, fold the fabric neatly
under the board and add some final staples.
Remember: you may also need to strip the
boards for the next window scheme, so try
to use as few staples as possible. Removing
staples can be time-consuming and arduous.
With the walls painted and the floors finished,
the dressing can commence. It is always
advisable to introduce the props first – they
will be the backbone of the whole window
scheme. Position the props where you think
they will attract attention, remembering that
the products should be king and that the
props must interact with the merchandise.
Larger props are generally placed towards the
back of the window, with smaller ones towards
the front. It would be pointless to hide the
Above
Subtle lighting and elegantly posed
mannequins in the windows either
side of the entrance to Saks Fifth
Avenue, New York, help guide
customers into the store.
93
products (and any other props) with a bulky
prop. Any hanging props should be suspended
first; they must be securely wired or fixed to
the ceiling grid. Free-standing props can then
be added and arranged.
Remember, mannequins are also props
designed to support clothing. It is always
worth considering where they will be posi-
tioned and how they will interact with the
window scheme.
If the window is backless, the unappealing
rear of a piece of furniture such as a cabinet
will be in full view. Placing another cabinet
backing onto it can hide the ugly side and can
also be dressed to face in-store, giving the
customer two chances to see the display:
when entering and when leaving.
As with props, large products should be
placed in the window first. It is important at
this time to distribute the larger items so that
they form the backbone of the main bulk of a
grouping. A window may have many groupings,
all trailing from one main grouping. The
largest and main grouping should be made
up of the largest item. A fridge-freezer, for
example, could stand just off-centre, with a
94
While you are dressing a
window, use the inside of
the glass as a mirror to see
the reflection of the grouping
and set-up. It is a very
immediate way of gauging
how the whole window is
taking shape. You must still
periodically go outside the
window to check it, too.
grouping of other electrical products around it; be spent dressing and perfecting a window
a washing machine may be positioned to the display, so it makes sense to illuminate it to
left, near but not touching the fridge-freezer make it stand out to passers-by. A spotlight
with another selection of electrical items; to focused on an empty back wall can be very
the right of the window a microwave could be distracting – and at night, very visible.
positioned with a smaller group of electrical
Attention should be focused on the price
accessories. It is important that the largest
tickets, if used; make sure that they are spelt
grouping is installed first, before the smaller
correctly and that they are positioned adjacent
ones. Concentrating on one small area of
to the relevant products. It is also important
the window before finishing the bigger area
to make sure that the text used is large
is not advisable, because it is the fully
enough to be seen from the street. Finally,
completed window as a whole that should
all surfaces should be cleaned and floors
be considered as the sales device, not just
should be swept.
one specific area.
Some stores have the luxury of having a mock
Checking the window from street level is
window in the studio, complete with lighting
essential. Spending long hours dressing
rig, where a whole window can be installed
a window without looking at it from the
and dressed to see if the design works
customer’s viewpoint can lead to problems:
aesthetically. Multi-chain retailers might use
the focal point might not be in the correct
this as a visual tool, once photographed, for
place and the whole window scheme may
visual guidelines that can then be sent out to
need to be adjusted, thus wasting time.
regional stores.
Closed windows can be claustrophobic and
sometimes get very hot. It is always best,
not only for one’s sanity but also for creativity,
to take breaks from difficult dressings. A
five-minute rest may inspire and initiate ideas.
When a window is 90 per cent complete,
it is time to adjust the lighting. The lighting
is one of the most vital elements of a window
display and, sadly, one that many visual
merchandisers forget to adjust. Hours can
Above
Illuminated skirts resemble
lampshades in this Selfridges window
in London. The window was designed
to promote the launch of the store’s
women’s shoe gallery, the largest
shoe department in the world.
Windows 95

Above
A dramatic window scheme in Topshop,
London. At first glance, it seems that
the mannequins are simply grouped
together to show off the latest trends,
but after further scrutiny, it becomes
apparent that the entire room they
occupy is upside down.
96

Store study:
Louis Vuitton
Being the Creative Director for the most
recognized luxury brand in the world
could be stressful. Faye Mcleod takes it
all in her stride and enjoys the challenge
of designing and installing innovative
window displays across the world.
Originally from Scotland, Mcleod has
worked in London, New York and now
Paris for brands including Selfridges,
Topshop, Liberty and Jigsaw. Now as the
creative force behind the inspirational
window displays for the French brand
Louis Vuitton, she resides in Paris and
works from an office on Pont Neuf. She
and her team are responsible for the
innovative window displays that show-
case the season’s “must-have” items that
every fashionista desires.

Louis Vuitton is recognized worldwide as

a luxury brand. Does this have an impact
on how the windows should look?
“Definitely. The windows are always enticing
and exciting, incorporating each with an
element of surprise with the Louis Vuitton
luxury consistent throughout.”

What techniques and practices do you

have to consider that a high-street store
would not?
“As we work on each scheme we are able
to experiment with the ideas, which includes
prototyping everything in advance, giving us
time to refine all the creative elements before
the windows go ‘live’. One example is the
New Bond Street Maison: the ‘Cabinets of
Curiosity’ window went through a number of
different colour treatments of gold until we
were able to arrive at the one we felt worked.”

How do you maintain the high standards

set by Louis Vuitton across the globe?
“All the creative ideas and decisions are made

Below
Above A grey velvet quilted backdrop with gold pegs has been designed to hold
Metallic red balloons appear to be lifting a mannequin sat on a piece of iconic the season’s “must-have” handbags in the Louis Vuitton Maison flagship
Louis Vuitton luggage in the windows of the Champs-Élysées store, Paris. store in London.
 97

in Paris, as this enables consistency and

considered development for the brand. We
communicate to all our teams around the globe
on a regular basis, which allows the creative
work to be executed carefully and accurately.”

Do you have teams of visual

merchandisers working in each country?
How do you communicate your creative
concepts to them?
“We have visual-merchandising teams all over
the world. To maintain consistency we produce
detailed creative guidelines and technical
booklets. We also put a lot of energy into
communication – there are several global
seminars that we all attend each year.”

Your windows often differ between

countries and cities. Why is this?
“Windows can occasionally be tailored
specifically to a location or event (New Bond
Street, for example). We also work a great
deal with artists, and these collaborations are
often place-specific – for example Vik Muniz in
Brazil and Stephen Sprouse in the USA.”

Where do you get your creative energy?

“Travel, my team, exhibitions, friends and
yoga.”

You have collaborated with artists,

stylists and influential fashionistas.
How important is it to enlist the ideas
of others?
“It’s richly rewarding to work with other
creative talents; this can push boundaries and
inject a different approach to the studio. This
was apparent when we recently collaborated
with Katie Grand for the Louis Vuitton ‘Ready
to Wear’ exhibition in the London Maison.”

You were recently in India. Did you get
any inspiration for your future window
schemes?
“Who knows? I did get to ride a painted
elephant and returned to Paris neon pink
thanks to the Holi festival of colour.”
Whose windows do you admire?
“Coco Maya (London), Ted Muehling (New
York), Hermès (specifically Rue de Saint
Honoré). Moschino, Marc Jacobs and Lanvin
are always strong. Bergdorf Goodman is
always elegantly ‘luxury’.”

Your Bond Street Maison store opens You started your career at Selfridges,
soon. What can the Louis Vuitton London and have worked in New York, and
following expect? now Paris. What’s next?
“Hopefully something unexpected.” “I’m happy where I am.”

Below left to right

White doves escape from their gilt cages and circle around a human head
Above wearing Louis Vuitton glasses in Paris. The Eiffel Tower has arrived in New York
Gold cotton-reels hold thread in a variety of colours in this eye-catching window at the Louis Vuitton store. This clever use of a vinyl decal has been applied to
scheme in the Louis Vuitton store on the Champs-Élysées, Paris. the exterior of the store, creating an arresting result.
98
Lighting
Paul Symes, the visual
merchandising manager
for London’s Fortnum &
Mason, has always had
an obsessive interest
in lighting and technical
wizardry. His tips for
ensuring a window is
well lit are:
Ensure all lamp fittings are
cleaned and working before
dressing a window.
While adjusting lighting,
a simple way to see if the
beam is focused on the
correct product is to wave
your hand in front of the
lamp and see where the
shadow falls.
Use lamps of the correct
beam widths.
Have a supply of spare
lamps at hand.
Check the window lighting
during the day and at night.
Be certain that the light
beams are aimed into the
windows – not facing out
towards the public, thus
blinding potential
customers.
Lighting should never be an afterthought.
The process of lighting a window should
be planned at the same time as the
window scheme (see the Lighting chart
on page 219 for assistance).
A track system with adjustable lamps offers
the most flexibility in windows and gives the
visual merchandiser the opportunity to use
several different lamp fittings, each of which
will perform a different role within the display.
Spot fittings will highlight an individual piece
of merchandise or mannequin, while flood
fittings will give an ambient light to the whole.
The wattage and beam width of a lamp can
be baffling to a novice. The actual lamp fitting
is useless without the correct lamp. Many
lighting fixtures can house a variety of lamps,
but not all of them will be universally effective.
The size of the beam width you require usually
depends on the size of the grouping it is
expected to highlight. A small piece of
Above
A detail from a scheme in Harvey
Nichols shows how a narrow-beam pin
spotlight can be used to highlight
the mannequins, and how effective it
can be carefully to coordinate the
make-up with the theme.
jewellery, for example, will only require a
three-degree beam width; anything wider will
illuminate the surrounding area. Large, deep
windows may require flooding with a general
wash of light before spotlights are used to
highlight individual items. A run of windows
should each have a similar quantity of light;
a dark window placed in a run of ten will
stand out for the wrong reasons, as will a
very bright window.
Colour and the time of day also need to be
taken into account when choosing lighting.
Some colours absorb light and others will
reflect it. If a light-absorbing colour such as
black or dark blue is being used, extra lighting
may be required to compensate. Fabrics and
carpet will also absorb a substantial amount
of the lighting in a window.
Lighting used in the daytime can differ
from the amount needed at night. In a bright
window with the sun shining on it, more
light will be required to compensate for the
extra daylight. Less lighting, as strange as it
may seem, is required at night because the
windows will stand out against their dark
surroundings – there is little other lighting
to compete with. Many retailers have adopted
a lighting system that can automatically adjust
the lighting outputs, depending on the time of
the day.
Opposite
Theatrical lighting has been used to
highlight the dramatic poses of these
Adel Rootstein mannequins at the
company’s showroom in New York,
enabling visual merchandisers to
imagine how effective they might
look in their own windows.
100

Signage and
graphics
Signage
It is worth noting that too much information
can be confusing and text should be used
cautiously. It is rather arrogant to expect
shoppers to read reams of text in a window.
It is always best to keep any text simple and
explanatory; punchy one-liners always work
best. Window signage should be planned at
the same time as the scheme or theme –
it should never be an afterthought. Always
consider how the signage interacts with the
window scheme or products, and question
whether the text enhances the window or
if it is unnecessary. Any signage used in a
window should always be prioritized in order
of importance. A ticket showing the price of
an item of furniture may be more important
to its sale than a sign stating its location
in-store, while a banner offering a discount
may overrule both. Either way, too many
tickets, signs or graphics can lead to visual
overkill.
There is no doubt that an illustration
The positioning of signage and the choice
(graphic) or piece of text (signage) in
of colour must be thoroughly planned before-
a window is a sure-fire way to get a
hand. A green message carefully placed on
statement across to customers, be it
the glass will not stand out against a green
price-driven or informative. Many visual
back wall; a contrasting colour would work
merchandisers not only use graphics to
better. The same sign placed directly in front
tell a message but also as part of their
of the main grouping can either hide it or, if
window schemes. The use of bold,
positioned correctly, draw the eye to it. Many
colourful text can enhance many window
retailers still place signage far too high in a
displays. Often, signage and graphics may
window and expect the public to look up to
be used as a statement to support the
read it. Positioning signage high in a window
window theme, or sometimes as the prop
encourages the viewer’s eye to leave the main
that ties a window scheme together.
focus of the window and trail off to the ceiling
grid instead. The most common and conven-
tional place for signage is at eye level from
the street.
Graffiti, neon, TV monitors and projected
images may all be used to send messages to
the public, and the same general rules apply.
To get the message across, text must be clear
and easy to read and digest.

Above
Part of a sequence of windows entitled
“Spring Beauty” at Selfridges, London.
The text is the theme that runs
through each window, each caption
relating to a recognizable quotation
or colloquialism.
Windows
Above
Large-scale text is applied to the
windows here to create not only a
larger window scheme called “Shop
Like a Man”, but also to interact
with the T-shirts on display.
101
Below
A colourful window in Topshop,
Westfield, London. Giant pansies
decorate the two-storey façade
of the store. The large plinth in
coordinating colours with neon
trim elevates the mannequins.
102

Window signage a weak soapy liquid; the vinyl lettering is

then placed on the glass and the soapy water
Window signage has progressed considerably
allows the lettering to be adjusted. When the
over recent years. The once handwritten
text is positioned in the correct place, a
signs hanging from ceiling grids have been
plastic squeegee the size of a credit card is
replaced with vinyl machine-cut letters that
used to press down the letters and force the
are usually stuck to the window glass. These
water from between the adhesive and the
state-of-the-art letters are accurately cut to a
window glass. Finally, the masking tape is
predetermined design by machine and can be
carefully pealed off, leaving the text firmly
produced in any colour or typeface. Applying
stuck to the glass. When the text is no longer
the text to a window, unfortunately, still has to
required, it can simply be scraped away with
be done by hand. There are many companies
a sharp blade.
that will not only cut the signage for you but
also apply it. The task itself is not difficult; The same vinyl treatment can be applied to
however, patience will be required. One small the entire glass, thus blocking off the window
slip and the lettering can fold back on itself completely. As strange as it may seem that
and become ruined. The vinyl letters can be a book teaching the art of window dressing
positioned on the outside of the window or should encourage such an idea, there may be
inside. Both are suitable, although bored times when a retailer needs to spend days,
customers have been known to pick the not hours, re-dressing a window. Many large
letters off the outside of the glass. department stores will use this opportunity to
maximize the value of their window space and
To apply the letters, a piece of masking tape
inform the public of the new window scheme
is placed on the non-sticky side of the text.
or promotion at the same time. The windows
This holds the text in its correct format and
act as a temporary billboard and hide the
makes the whole line or word easier to
disarray inside.
handle. Before placing the text onto the glass,
many professionals will spray the glass with

Above
The impressive backdrop of this
window display in Topshop, London, is
constructed of steel. The letters have
been cut out so that they appear rough
and industrial-looking. Backlighting
helps the text stand out.
Windows 103

Descriptive tickets
Descriptive tickets are the signage used to
inform the customer of prices, location of
products or discounts. While many retailers
prefer to be discreet and not inform the
shopper of the price of an item, others proudly
list the prices adjacent to the merchandise.
When pricing the clothing on a mannequin,
the ticket should always read from top to
bottom, listing the prices starting from the top
as the mannequin is dressed: i.e. hat, shirt,
trousers, shoes. The lettering should be large
enough to be seen from outside the window
and be positioned to the right of the manne-
quin. Each descriptive price ticket in the
window should be the same size and format.
Some retailers use a Perspex stand to hold
the ticket, which can be purchased from
display companies. Because of the static
electricity in Perspex, however, such stands
can act as a dust magnet and will need to
be cleaned daily.
Merchandise can be priced in other ways, too.
Smaller price tags may be pinned to clothing
items, or household goods may have small
tickets placed in among the groupings. Some 0
items may need a description of the item to Hat: £7
help the sale. An antique chair may require a
£250
brief history and list of the materials used in
its construction; however, an edited version
Jacket:
will suit most customers.
i t w e a r: £150
Handwritten tickets are definitely frowned
Kn
124
Shir t: £
upon in the visual merchandiser’s world;
even the smartest handwriting will look
unprofessional. A printed ticket will always
£110
look better and be easier to read. Jeans:
£190
Shoes:
104

Graphics them in the window. Ideally, they should not

be applied to the side walls as they will only
Photography, either displayed within or applied
be seen by customers passing the window in
to the window itself, is now a common tool
one direction. Positioned on the back wall,
for the visual merchandiser. Modern digital
however, they can be used to attract the eye
technology has made large-scale photographic
into the window.
prints affordable and accessible. As well as
being used in conjunction with the retailer’s
advertising campaign, images are often
created specifically for a window scheme.
Such graphics have the advantage of being
easy to install – and, as they don’t have to
be stored, easily thrown away. Photographic
images can be applied to heavy-duty paper or
card and hung from the lighting grid, printed
on vinyl and applied to the window or printed
on paper and stuck on the back wall. They
can create an immediate window scheme that
needs little advance planning and is quick
to install. More than one skilled person will be
needed to apply large-scale vinyl graphics to
the glass. Care should be used in positioning

Above
French Connection’s larger-than-life
vinyl graphics dominate the façade of
the London store and promote the
season’s trends.
Windows 105

Above
This impressive approach uses the
store brand as part of the building’s
design at Uniqlo in Tokyo.
106
Window
calendar
Large retailers will plan their window
schemes well in advance using a window
calendar. A well-planned window calendar
will help a visual merchandiser organize
window installation dates, ensure that
each window has a scheme planned well
in advance, and in many cases, it will help
with budget allocations. In a reassuring
sense, it will also help the visual
merchandiser’s job run smoothly. It is
highly likely that a window calendar
will be amended throughout the year;
promotions can run longer than anticipated,
and unexpected new products often
need to have windows dedicated to them.
However, a tentative plan will add some
structure to the process.
A window calendar is also a useful tool with
which to communicate the workload for the
year to others in the business. The buyers will
want to ensure that the products that are to
Above
London’s Fortnum & Mason
traditionally presents elaborately
themed Christmas windows. In this
scheme, the front windows of the
Piccadilly Street store were dominated
by the tale of Alice in Wonderland.
When the Christmas windows are
be promoted arrive in time. The sales staff
will also want to make sure they have enough
back-up stock available in their departments.
For decades, a visual merchandising
manager would plan a window calendar using
seasonal events as a backbone. In Christian
countries, November and December would
be blocked out to promote the festive season;
discounted sales would (and still do) domi-
nate two months in the year in winter and
summer. Easter, Mother’s Day and Valentine’s
Day are just a few occasions that often have
window schemes dedicated to them. It might
appear thoughtful to remind the public of such
events, but it can also be naive to dedicate a
run of costly windows to an occasion that only
lasts one day and might only generate sales
of low-priced items such as greeting cards.
Instead, it would be better to promote
gift-giving occasions that might encourage
sales.
Today, however, with the greater competition
on the high street, product promotions usually
supersede many of the traditional seasonal
events. With this in mind, it is advisable
to be aware of which new product ranges
have been bought by the buying department
and when they are going to appear in store.
Timings are critical for maximizing sales.
It would be senseless to design a window
scheme to promote new season collections
if they are not present in the host department.
At Selfridges, Alannah Weston prefers not
to commit her windows to a year of schemes
in case the fashion world dictates a new
trend. “We work on only a six-month calendar
because we like to keep the customer up to
date with the fashion trends,” she explains.
“I do not like to commit to something a year
away that might not be so topical when it
finally arrives. If you plan too far in advance
you can miss the point. We are a fashion
business, whether it is apparel or home, and
dismantled in January, department
stores usually start to plan the
windows for the following Christmas.
This allows time for research and
design and the manufacture of props.
Windows 107

Above
This Christmas window from Harvey
Nichols in London features snowflakes
to produce a festive display.
108

we need to know what is out there in the can then be set against the dates. The visual
fashion world. Attending the fashion shows is merchandiser will thus be able to check at
a great inspiration for me. Christmas, on the a glance on what date windows 1 and 2 are
other hand, because of the vast amount of to be re-dressed, for instance. Large stores
work involved, is planned a year in advance.” may have numerous windows that may not
all be dressed with the same window scheme.
In the twenty-first century, many retailers
Windows may be split up to accommodate
now acknowledge global traditions and
several promotions, and numbering the
beliefs. Retailers may not only attract new
windows will clearly define the window
customers by promoting them but prove that
allocations. A comprehensive window calendar
they, too, are worldly and aware of cultural
will also show precisely when an existing
differences. A Chinese New Year window or a
window is to be stripped and the time
Diwali window may also break the traditional
allocated to install a new one. Remember: the
appearance of a company’s window displays.
less time the window is in a state of undress,
An annual window calendar can start at the better. Window-removal dates should be
any month of the year. Many retailers like to considered while preparing the calendar.
begin with Christmas, because those windows
usually take the most planning and may
need to complement the in-store seasonal
decorations. Certain dates may be fixed and
unable to move. It is always best to add
these first to structure the calendar.
Once the proposed dates are added to the
calendar, the task of designing relevant
window schemes to support them can begin.
To make things easier, the store windows
should be numbered; the window numbers

Above
Two spectacular Christmas windows
from Bergdorf Goodman in New York.
The intricate detail and dramatic colour
schemes have turned these windows
into three-dimensional artworks.
Windows
Structuring a
window calendar
Decide how long you
want your calendar to run:
six months or 12? Many
retailers will even use an
18-month calendar.
Decide how you wish your
calendar to appear. Many
visual merchandisers will use
a paper chart, yet others may
use a computer program that
can be accessed throughout
the business. An interesting
calendar can be produced
using images and designs to
demonstrate how the window
schemes appear in reality
over the allocated time.
Above
Kenzo sweatshirts appear to float
down on to a frozen winter landscape
in a Christmas window display at
Selfridges, London.
109
Allocate windows for Allocate budgets to each Always plan the removal
major promotions first: i.e. of the window schemes. of existing window schemes.
Christmas and sales. Remember that Christmas On most occasions this
windows may justifiably should only take a couple
Add secondary promotions:
attract a larger slice of the of hours; however, complex
i.e. Easter, Mother’s Day,
budget because they are displays may take longer and
Valentine’s Day.
generally in for longer and eat into your dressing time.
Use the free window spaces because the store may wish
Completed windows can be
to introduce window schemes to compete with its rivals
photographed for reference
that may be product-related: on the high street – every
later. This is best done at
i.e. new season collections. store wishes to be noted for
night with a black screen so
outstanding window displays
Discuss with the buying/ that you won’t get reflections.
at this time of year. Smaller
marketing team if they If you are freelance, take at
schemes that are not in for
require window space to least a quick snapshot for
a long duration should not
promote new departments your portfolio.
have large budgets set
or special events.
against them.
Design and plan the
windows well in advance.
Large schemes with complex
props may need a lot of
attention. Prop-makers have
to be briefed and their studio
time booked.
110

Window standards and

maintenance, and budget
To a few visual merchandisers, it may Fabrics
come as a sense of relief to have
Draped fabrics can start to sag and begin
completed the task of dressing a window.
to lose their effect after time in the window,
Often they will not take note of their
and it is sometimes necessary to refresh
work again until weeks later, when they
them by adjusting and re-pleating. Coloured
are stripping it, ready for the next
fabrics can also fade in the sunlight; it is
installation. Unfortunately, this attitude
always advisable to replace them if this
towards their work will never gain them
happens; the faded colour might be
a good reputation.
misleading to a customer.
Standards and maintenance
Plants and foliage
Window checks are laborious and time-con-
Whereas artificial plants might look realistic
suming, but they are essential for maintaining
to the consumer, dusty leaves will be a sure
the standards of a window display. Senior
give-away. The leaves can be washed or wiped
visual merchandisers often delegate this task
down with soapy water. Fresh flowers must
to their juniors. Window checks should be
be monitored at all times, depending on the
completed early in the morning
fragility of the blooms; petals will drop and
and at the end of the day. A notepad and pen
stalks will wither.
and a scrutinizing eye are usually the only
requirements. A checklist can be produced
Lighting
to ensure that any member of the visual team
will look for the same problems or mistakes. It is always advisable to scrutinize not just
the dressing but the lighting too. Lightbulbs
The most common faults include
often blow and can leave parts of the window
the following:
in shadow. In some cases, whole lighting
tracks can short-circuit. Lamps and chande-
Dust and dirt
liers used in the grouping may also need
Materials that hold static electricity, such lightbulbs replaced.
as Perspex, will attract dust. There are
sprays available that promise to help slow Heat
the build-up of dust; however, they will not
The heat from the sun combined with the
prevent it. Surfaces and floors should also
window lighting will often melt candles.
be checked for dirt and dust.
To prevent this, cut the candles as short as
possible; without the length and the weight,
Fallen props and products
they are unlikely to droop.
Not only should the visual merchandiser
check for obvious problems such as a fallen
mannequin, he or she should also look for
props that may have moved or slipped.
Adhesives can either dry out or melt in the
heat of the window, dislodging materials
or fabrics.
Windows 111

Linda Hewson is
Selfridges’ Creative
Director. Over the years,
she and her team have
produced many stunning
displays that are often
controversial and
eye-catching. Here is her
checklist for novices
wanting to produce a
successful window
presentation:
When planning the window
make sure you clearly
understand the concept or
design, and know what
budget is available.
Always produce a visual
or sketch before starting
to install any products
or props.
Consider the space you
have and what is physically
possible; will everything fit
through the door?
Decide where the main focal
points are going to be.
Think about what products If using props, ensure
you will be representing. that they are made to a
Who are you targeting and high standard and are
will the products be suitable? finished well.
Ensure that the props do not Remember: often the
overshadow the product. simplest windows are
the best.
Be certain that any
mannequins being used are
sympathetic to the product.
Is it necessary to use
graphics or ticketing?
Choose a strong colour
palette.

Budget The future

Spending vast amounts of money on visual
merchandising will only benefit the store if
the visual merchandiser has the expertise to
demonstrate effective visual merchandising.
Expensive props and elaborate window
schemes still need to be installed and
dressed by individuals who understand the
fundamental rules of layout and how best to
use the space to create stunning displays.
Having said that, setting a budget against a
visual merchandising project is a necessary
part of the process. Remember: it does not
always cost a lot to be creative. Many of the
most effective window displays have been
economical yet effective.
When setting a budget, it is often easy to
overlook the main factors that will eat into
your allocated amount of money; painting a
window, for example, may cost more than
expected when you take into account the cost
of the paint, tools and painter. Signage and
graphics can also be costly. Window-display
projects may also require additional help from
outside experts such as freelance dressers;
in these cases, fixing a daily rate will help
keep the work within budget. Of course,
savings can always be made; a shrewd visual
merchandiser will rarely discard used props
or fixtures, as many can be recycled and
reused (see page 72).
The future of window displays lies in the
hands of the retailers. Selfridges’ Alannah
Weston believes that the public will never stop
admiring windows and will continue to visit the
high street for inspiration. “More and more,
we need to open up our stores so that people
can see in,” she says. “That will obviously
have an effect on the window displays of
tomorrow; we are going to have to be very
clever in how we approach it. Window dis-
plays, as in three-dimensional presentations,
are always more effective than any plasma
screen or two-dimensional presentation that
I’ve seen; however, we have just recently seen
a demonstration of a hologram machine that
was very effective. If technology gets good
enough, then we will use it – we are, after all,
at the forefront of window displays. It’s the
same principle as questioning whether people
will stop going to the theatre when they can
get films on DVD. The experience and tactile
nature of creative windows will always be
more rewarding to view. Live models, move-
ment and definitely sound is something that
I would like to use in the windows. However,
all of that will only serve to support the
original art of window dressing that has been
around since stores opened.”
112
Store study:
Fortnum & Mason
In 1705, Hugh Mason owned a small shop
in St James’s Market, London. By 1707,
he had been joined by his lodger, William
Fortnum, and together they started a
business that has lasted 300 years.
Throughout the centuries, Fortnum &
Mason has built up a reputation as the
purveyor of fine foods and groceries, not
only with members of the British royal
family, but also with a loyal clientele,
all of whom appreciate exquisite food.
As Charles Dickens wrote of one trip to
watch the horse race known as the Epsom
Derby, “Look where I will...I see Fortnum
& Mason. All the hampers fly wide open
and the green downs burst into a blossom
of lobster salad!”
The challenge for the visual merchandising
manager at Fortnum & Mason is not only
to create inspirational windows but to do so
while keeping the shop’s traditions in mind.
Above
This style of casual grouping is used to maximize the space in the cupboard’s
shelves and drawers while retaining a focal point: the open drawer in the centre.
Paul Symes has the task of producing the
F&M windows. His “Cabinets of Curiosity”
window scheme for December 2006 lived up
to the grandeur expected. Here, Paul talks
about the inspiration, creation and installation
of the F&M windows.
Fortnum & Mason has a very eccentric,
unique quality. How did you decide on the
window scheme?
“Fortnum & Mason houses a veritable feast
of delights, sourced from far-flung corners of
the globe. In a similar way, in the eighteenth
century, the appetite for knowledge led
aristocrats to travel the world in search of
undiscovered and interesting artefacts and
objects, which they would then display in
showpieces called ‘cabinets of curiosities’.
Eventually, the cabinets would become as
diverse and eccentric as the artefacts
they held.
I wanted to produce a scheme that not
only conveyed the eccentricity of the store,
but also allowed us to display an eccentric
mix of product from all over the store. The
cabinet of curiosities seemed to present
the ideal showcase.
The cabinets had to be individual in them-
selves, with their own ‘personalities’, but
at the same time they could not overpower
the product that was to be displayed on
them. They not only had to have shelves and
features to group product upon, but also had
to contain the displays within a specific area.”
How important is it to keep the
Fortnum & Mason brand image in mind
while designing the window scheme?
“The brand image is of paramount importance
when designing a window scheme; the
scheme should not only sit comfortably with
the brand image, but also embrace it. This
 113

Above
Fortnum & Mason’s “Cabinets of Curiosity”-themed windows were used to
display an eclectic mix of food and fashion.
114

knowledge influenced my decision to create

this ‘eccentric’ window scheme.”

How long did it take for you to design and

develop the window scheme?
“The design stage took a couple of days. Once
I had thought about the initial concept, I then
began to put my thoughts on paper in the form
of simple sketches. I wanted to ensure that
there was a common relationship between
each cabinet, and that they sat comfortably
alongside each other.
Then I drew more elaborate sketches, and
began to add subtle details such as colour
and embellishment. The whole process took
about a week.”

How did you specify the windows for the

prop-maker? How did you get your vision
across to the prop-maker of how the
windows should look?
“Initially we spent some time discussing my
vision and feel for the scheme, but to a large
extent the prop-maker worked from my original
drawings. I wanted the scheme to sit comfort-
ably with the products that would be displayed
on the units, so we spent some time walking
around the store looking at merchandise.”

What was the process of getting the

window scheme made after you had
briefed the prop-maker?
“As soon as the scheme went into
production, I started making weekly visits
to the production studio. This was my first
scheme for Fortnum & Mason, so it was
important that there were no nasty surprises
on installation day. Each stage of the manu-
facture was monitored and signed off; sample
paint finishes and embellishments were
discussed and approved.
During each visit I would take photographs
of the props so that we could converse over
the telephone in between visits, with each
party having a full knowledge of the detail
under discussion.”

What do you consider when selecting the

merchandise for the windows?
“Prior to selecting product for the windows,
I hold a briefing session for all the store’s
buyers. This usually takes the form of a visual

Above left, top to middle Top right to below

A hand-drawn sketch is produced as an initial idea. A more detailed drawing The window prop is near completion and has one final check before the paint,
is produced to scale to ensure that the scheme fits comfortably within the gilding and decoration are applied. The completed tree growing out of the top of
dimensions of the window. the cabinet adds a surreal note to the final window display.
 115

a member of the team assisting. The majority

of the products for the window will have been
chosen and cleaned beforehand, but as with
all things creative, there are always ideas that
suddenly come to mind on the day.”

Can you describe briefly the installation

and timings of the window scheme?
“The design stage takes about a week. From
there the production stage takes six weeks,
and the installation of the props takes a day.
It usually takes four days to dress a window
run (eight windows), including lighting.
I like the scheme to simply arrive and be put
into place. I don’t want passers-by to see
empty windows but something magnificent
even before we have started to add the
product. To achieve this, the scheme is
usually installed on a Sunday morning, and
the windows are cleaned, ready for dressing
first thing on Monday.”

How important is the window lighting?

“Lighting can either make or break a window
scheme, and very effective results can be
achieved with inexpensive equipment. The
most important rule is that it must be
presentation showing the development of the
maintained and properly adjusted.
concept from the initial sketches through to
the latest production stages. We have two basic systems in our windows: a
high-level track with halogen wide and narrow
During the following few days I visit each
spot beams for overall lighting, and a low-level
buyer to discuss the merchandise they wish
track with low-voltage 20-watt narrow-beam
to offer from their department, and start to
spots for feature lighting. Occasionally we may
work out how each product will feature in the
use coloured lamps, gobo projectors or LED
windows, and I collect sample products to
lights with changing effects. Each one of the
show the visual team. I then start to build up
fittings has an integral dimmer switch.”
a mental picture of how the final windows will
look: what colour will be prominent, what the
How do you maintain the windows to
secondary colour will be and the style of
ensure that they remain fresh?
dressing we will use.”
“The windows are checked and maintained
How do you start the dressing morning, lunchtime and evening, and cleaned
process? Do you brief your dressing on a daily basis. That includes any dust that
team beforehand? may have accumulated overnight. They are
re-dressed every two weeks with new prod-
“As soon as I have a clear picture in my mind
ucts. If the same person passes our windows
of how the windows will look, I arrange for a
on their way to work each morning and again
briefing meeting with my team. At the meeting
each evening, they have seen the same
I will present the concept and show them the
display at least ten times in a week, which can
props, which will now be in the final stage of
seem like an age! I want people constantly to
production. If time permits, some of the team
see something new, something that catches
may have visited the prop-maker and have
their eye. Our windows are never finished; they
seen the production themselves. I always
have always just begun.”
dress the first window, usually with

Above
The lighting emphasizes the product, with pin spotlights used to highlight the
three main groupings.
 In-store
Visual
Merchandising
118

product and trends. Whichever type of

“It is extremely important that we have an store you are in, the same disciplines of
established theme that begins with our windows in-store merchandising will apply.
and translates to all areas in-store nationally. Key to successful in-store visual
merchandising is a successful floor
The in-store areas are just as important as our layout. First you need to establish product
windows and provide our customers with adjacencies before you can start to plan
your floor layout. There is then a series of
information and entertainment.” options from which you can choose your
fixtures and fittings, as well as some basic
John Gerhardt, Creative Services Director, Holt Renfrew
rules of product handling to help you display
your merchandise effectively. Hot shops
and in-store displays, and point of sale
and add-on sales will help merchandise
your shop. Signage and graphics can also
help in-store visual merchandising, as
can the creation of ambience. Finally,
In-store visual merchandising is the
care and attention needs to be given to
process used to lead customers through
maintenance standards.
a shop in a logical order, encouraging
them to stop at designated points and,
hopefully, to make a purchase. Ask
shoppers why their favourite store
should stand so high in their estimation
and many will probably explain that the
space is easy to shop in, the product
is simple to find and the signage is clear
and informative. Each of these answers
demonstrates effective in-store
visual merchandising.
As a visual merchandiser, your input into
the merchandising of the store will vary
depending on the type of shop in which you
are working. In a small boutique, you may
be called upon to refresh the layout in order
to encourage customers to browse, and you
will have a great deal of input into how this
is done. In a multi-chain retailer, you will be
more likely to be following directions from
head office, which will often relate to buying
programmes, store promotions and seasonal
events. Specialist stores may rely on the
visual merchandiser working with the buyers
to lay the floor according to the new season’s
In-store Visual Merchandising
Above
A sculpture of a giant baby in the IT
Beijing Market creates a sense of fun
and drama.
119
Below
Not only has Lane Crawford,
Hong Kong, created strong focal
points to attract the customer on
this men’s floor, it has also added
footprints on the floor to help guide
the customer towards them.